Joel Michaud

The O-R

Alpine Moon Spruce Top,  Honduran Mahogany Neck, Michaud Precious Metal Inlay in Blue Patina, Ebony Fretboard, Bridge, End Pins, Bone Nut and Saddle, 13 Fret Neck, 1 3/4″ Nut and 2 1/4″ Spacing, Slotted Headstock, Graf Tuners, Carbon Fibre Case      SOLD




The Ecstatic Guitar Theorem

1.Chordal Response: fast, lively, response, versatile chordal weight, dynamic, crisp response and definition, “all dressed”  4.85
𝑑1 = 4.8   ( 5-n) +1 =1.85 )
2.Individual note decay as well as blended in a chord:  14 secs +   malleable sustain,
approx  14 sec as note                            4.9
𝑑2 = 4.9 ( 5-n) +1 =1.9 )
3. Basic volume and presence:bold, intimate, forward around projection, loud, soft, aggressive, powerful, interactive volume,     4.85
𝑑3 =4.85 ( 5-n) +1 =1.85 )
4. Individual note separation and focus: excellent note separation,crisp defined trebles and mids with balanced lows   4.85
𝑑4 =( 5-n) +1 =1.85 )

5.Systematic sustain:  tasteful, lingering sustain, rich defined overtone series, interactive sustain, delay,  4.85
𝑑5 =4.9 ( 5-n) +1 =1.85 )
6. Response compliance: energetic and direct, interactive response, open full sound,    4.85
𝑑6 =( 4.85 -n) +1 =1.85 )
7. Balance and quality of tone: very well balanced, an enthusiastic voice, vibrant, malleable tone, interactive, Chiming harmonics, bellowing harmonics,finger style balanced, aggressive a very dynamic instrument with an inviting voice              4.85
𝑑7 =( 4.8-n) +1 =1.85 )
8. Even strength and balance of each string: strings are well balanced and pronounced with a crisp bell like acoustic focus, thickish  and heavy mids and trebles yet open and “bouncy”, great bass fundamental, rich highs    4.85
𝑑8 =( 4.75-n) +1 =1.85 )
9. Tone projection: intimate to aggressive tone production, LOUD full bodied sound to soft and lush, a full voice,      4.85
𝑑9 =4.9 ( 5-n) +1 =1.85)
10. A large dynamic range: a large array of dynamics ranging from crisp raspy highs and lows to open sweet round notes,    4.9
𝑑10 =4.85( 5-n) +1 = 1.9 )

11. Tonal bloom:  medium-long bloom cycles loaded in sustain and fundamental      4.85
𝑑11 =4.8( 5-n) +1 =1.8 )


Quality Of Tone

A well balanced enthusiastic and inviting voice with vibrant crisp malleable tone. Interactive, chiming harmonics with an intimate to aggressive tone production. A large array of dynamics ranging from crisp raspy highs and lows to open sweet round notes. An overall very pleasing tone to hear.


∑𝑑 = (𝑑1+𝑑2+𝑑3+𝑑4+𝑑5+𝑑6+𝑑7+𝑑8+𝑑9+𝑑10+𝑑11)= 20.45
𝐏= ∑ 𝐅 ∕ T ∑𝐅=∑𝑑⧹𝐀
P = / T
𝐏= 20.45/ 22 ≅ 9.3/10 ≅ 93%


Honestly this guitar is likely one that has made me the most proud to be a guitar maker. I set out to create a parlour sized guitar that would be a OM killing contender.
I love the aesthetics one can achieve with a smaller body size. This is easily the most appealing visually for me in my line up. The 13 Neck joint drops the bridge slightly and the 24.7″ scale makes it extremely easy to play. It’s comfort is off the charts and you can sit back and play this puppy all day.
Joel Michaud



This is a Michaud Made original body design, headstock, rosette, bracing pattern and voice. This guitar has a borrowed and revised floating “T” back brace innovated by Jeff Traugott.

The tuners on this guitar are made and designed for this guitar by Jorg W. Graf.


A seriously fine instrument that lends itself intimately to anyone who plays or hears it. I would say this guitar is perfect for anyone looking for a comfortable instrument with a powerful and romantic voice. For me this guitar sings with a passionate crisp voice that swoons and invites playing as often as possible a lover not a friend. For this reason I would say it has a more feminine vibe.

The Listening Bar

These are the actual recordings of my first time playing this guitar. I start by introducing myself to her with some G progressions, then drop the D for a spicy but sweet session and finish with a smouldering C tone quake. These are live, unrehearsed and random playings on this particular guitar in an effort to explore it’s unique timbre.  This particular instrument is more dynamic then any Michaud Made guitar I have had in stock and demands further exploration. This will be the first part of a two part series into investigating tone on the Michaud O-R.